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If you are "contra-wise- you'll go overboard for this new series. All records are arranged with the called version on one side and the instrumental on the flip.

Frank Kaltman calling - Folkraft Orchestra instrumentals

F-1243 Portland Fancy

F-1244 Fireman's Dance

F-1246 Lady Walpole's Reel

Bob Brundage calling - Folkraft Orchestra instrumentals

F-1257 Haymaker's Jig

F-1259 Fairfield Fancy

Get on the bandwagon n ow COPETRA\ [MICAS are the big thing today

AMERICAN ,S1 “Ares

THE MAGAZINE OF AMERICAN FOLK DANCING

DECEMBER, 1959

News Correspondents Volume 15 Number 4 YOU THIS MONTH Contributing Editors Fred Bailey W. Joseph Bray Special Articles Dud Briggs Lib Hubbard A Teutonic Quadrille 5 Olga Kulbitsky By Hugh Thurston Bob Merkley Ray Olson Round 'N' Round S Pat Pending By Mary and Bill Lynn E. H. Regnier A Brief History of "Hash" 9 By Rickey Holden and Associate Editor Lloyd Litman H. A. Thurston Seasonal Dances 14 European Editor Modern Concept of a Clifford McGuire Square Dance Caller 20 By Bart Haigh Roving Editor Rickey Holden Regular Features Round Dance Editors Mary and Bill Lynn Editorial 4

Record Review Editor Here and There 12 Frank L. Kaltman Grab Bag 13

Editor Record Reviews 18 Arvid Olson Mail ...... ...... _ 22 Thought for the Day 24 Publisher Heritage-American Co. Coming Events 26

AMERICAN SQUARES is published monthly by of month preceeding date of issue. Subscription: Heritage-American Co., 2514 - 16th Street, Moline, $2.50 per year; single copies: 25c each. Cover and Illinois. Application for 2nd Class re-entry privi- entire contents Copyright 1959 by Arvid Olson. loges entered at Moline, Illinois. Forms close 10th All rights re d. CRACKER BARREL SESSION

PROBABLY everyone reading this column will agree that local and regional square dance publications are an important part of the square dance movement. These publications help to promote square dancing, unite square dancers, pro- vide advertising media for commercial square dance firms, serve as a vehicle for conveying new dance material to the general square dance public, and generally add to the worth of the movement.

Why, then, do many of these publications fail? During the past two or three years alone over a score of square dance publications have entered or left the square dance field. A partial answer might be the lack of training and back- ground of people attempting to enter the magazine business. There is much more to publishing a regular square dance magazine than most people imagine. One casual observer commented about one publication that existed only a short time, "The editor put all he knew in the first issue and it took him six months to run out of paper."

However, this is not the primary reason. The apathy of square dancers toward such publications is the reason often given. People seem to have a "Let George send in news and articles and I'll read them" attitude. If the reasons for this attitude could be found local publications would prosper, dancers would be better informed, and the square dance movement in general would benefit.

Many dancers, especially the newer ones, are not aware of local publica- tions. Of course, the remedy here is advertising. Others are simply not interested in what is happening in other areas. This is a very narrow, short-sighted, and dangerous view.

Most dancers do not enjoy reading many of the publications because they are filled with dry, repititious, ordinary doings of various groups. Evidently some dancers do not wish to be informed. They only want to dance and expect their caller to know what is going on within the movement.

Local, state, and regional publications are an important part of the contem- porary square dance movement. They will survive only if every dancer and caller active in square dancing does his or her part to promote and support them.

4 AMERICAN SQUARES XV-88 A TEUTONIC QUADRILLE By Hugh Thurston, Vancouver, B. C.

One sunny afternoon in the summer fond of saying that Edinburgh is half of 1950, in the small town of Hanau- English, or Glasgow half Irish. This am-Main, in Germany, a rather mixed time I made a note of how the dance collection of young people could have went. The formation is a cross be- been seen enjoying themselves danc- tween that of "Portland Fancy" and ing. Half of them were the local that of the Vermont "Tempest." Musikkreis, who included dancing Imagine the two-couple-facing-two- among their musical activities; the couple sets of "Portland Fancy" ar- others were us — a visiting group of ranged not in a circle but in a straight Scottish dancers from Cambridge Uni- column, and you have it. versity. It was our first experience of foreign dancing, and it seemed to us The figures were: that the Germans were doing rather a Meas different kind of dancing from ours; 1-16 Circle eight and back. they did mainly couple-dancing and 17-24 Two opposite couples (actually quadrilles, which reminded us very the two furthest from the stage on strongly of what we would call "old- which the musicians sat; the dancers time" dancing. Their waltz-masurka, were all side-ways to it) go "down for instance, was like our Veleta or St. the middle and up" (i. e. towards Bernard's waltz — and, to be frank, the stage and back) each man tak- did not interest us much. Except for ing the woman opposite. They lead one of their quadrilles, that is. with nearer hands. The Swedes out- did the Germans in compliments: This had a most attractive tune they bowed not only at the begin- which we were soon all humming or ning and end of this figure, but in whistling. Its name, as far as we could the middle too. make out across the language-barrier, 25-32 The other two couples do as was "Sunday-Morn Quadrille" and the much (going away from the stage name seemed to suit it. For the style and back). of dancing, especially the courteous 33-40 Each couple dances a grand- bow with which each dancer greeted right - and - left - for - four with the his partner when he took her down couple opposite. the middle, the dignified walking-step 41-48 and a circle left. with which they moved, and the 49-64 Each couple polkas round the) second courteous bow on returning to opposite couple, ending in each place, all seemed clearly "Sunday other's place. manners." Everybody, as in "Portland Fancy" Two years later we met the dance now dances the same again with the again, this time in Skane, in the people they are now facing (of course, south of Sweden. We got the right those who have reached the ends of name this time: "Sonderborg Quad- the column will have to wait out one rille." The Swedes told us that it was round). a Danish dance, one of the very few foreign dances which they did. This The dance has been described in was not surprising, because Skane has the South Jutland book in the series belonged to Denmark at various put out by the F.F.F. (one of the two times and Swedes from up north are national folk-dance societies in Den- fond of telling Scanians that they are mark). I checked my notes against the half Danish; just as highlanders are hook, and found that the dance in the

XV-89 AMERICAN SQUARES 5 books was the same, but the forma- The formation consists of a line of tion was different. Imagine a four- four couples facing a line of four, couple set, as in "Portland Fancy," making a rather long and thin set. As and behind one line of four a number at Hanau, each set is independent of of other lines of four facing the same the others. In the opening figure there way, like reserves waiting to come are two circles of eight instead of one. into battle. Behind the opposing line In the second figure, of course, four of four is an equal number of "re- couples at a time go up or down the serves." At the beginning, only the middle. This group did not bow, but center two lines (the ones we imagin- the moving couples clapped on the ed first) dance. After the first progres- first beat of the first measure of the sion has taken place, these now each figure, and while one lot of couples dance with the first reserves, so the were moving the others were clapping four center lines are dancing. Next (twice in each measure). The circles time the six center lines are dancing, of four come before the grand-rights- and so on. Thus, the movement and-lefts in this version, and during spreads out from the center. But, I these rights-and-lefts the dancers sing: have never seen anyone dance in this Die rechte Hand, die linke Hand, way. Die reich' ich Dir zum Unterpfand. My memories of the Hanau version Die rechte Hand, die linke Hand, are that except for the two following Die reich' ich Dir zum Unterpfand differences it was the same. The first mein difference was that in Hanau there Leben lang. was no progression; each couple end- To end, instead of each couple polka- ed in its original place. Thus, each set ing round the opposite couple, each of four couples was quite separate couple polkas all round the set and from the rest of the dancers. In fact, back to place. the first time we saw it, there was only one set, who did it two or three times The whole thing is then repeated through exactly the same each time. with the first figure altered. Instead The second difference was that the of everyone dancing circles of eight, Gennans played the last part of the the women dance circles of four. The music (measures 49-56) twice as fast third time through, the opening figure as in the book, i. e. they telescoped consists of two stars by the men. two bars into one, and repeated it to Finally, there is a grand circle of six- fill out the time. I liked this. The teen. speeding-up of the music went well The music is slightly different from with the change from the steady walk- that in the Danish hook. The tune con- ing-step of the first part to the final sists of three strains, each of sixteen polka. measures: let us call them A, B, C. One thing puzzles me about the One strain has to be repeated to fill description in the book. T h e name out the 64 measures of the dance. The given there was "Dobbelt Kvadrille" book has ABBC; the Germans played which means simply "double quad- ABCC, which has the advantage that rille." Now a double quadrille re- B — a beautifully smooth flowing quires eight couples, not four. The melody — is used only for the parad- point was cleared up the next time I ing down the middle and back — a went to Germany. In three neighbor- smooth dignified figure. ing villages in Lower Saxony — Lesse, The last time I did the dance was Vorsvelde, and Lebenstedt — I saw it just before leaving Europe, and was danced as a genuine double quadrille. in Sonderborg itself. I was just lucky The three versions were very closely that there was a dance on the week- similar. The one from Lesse is as end I was passing through. It was one follows. of the most enjoyable evenings I have

6 AMERICAN SQUARES XV-90 spent anywhere, and it was far too The Swedes, as I remarked, called much of a social occasion for me to the dance Danish; neither the Danes be taking notes or worrying about nor the Germans seemed to be con- details. All I remember is that the cerned over its nationality. "Inter- music was supplied by three fiddlers. national" folk-dance groups in Ameri- In fact, wherever I have danced in ca usually like to know the nation- Denmark, Sweden, or Norway, the ality of the dances they do; and if the music was by two or three fiddlers (or Sonderborg quadrille is to be given a occasionally one) unaccompanied. In nationality, I think it must be German. Germany it was nearly always a solo Not only has it all the hall-marks of accordion. When it wasn't, it was a being a living dance in Germany - small band. existing in various versions, having There is a printed German version words to a part of the tune, and being of the dance. It is in a very fine book learned traditionally — but the only called "Die Tanzkette" which appear- part of Denmark where it is "live," the ed in 1952 and contains a classified town of Sonderborg itself, which the selection of the best dances from the very name of the dance indicates as pre-war books, most of which are now its birth-place, was in Germany up to out-of-print, all described according 1920, when the frontier between Den- to a system worked out by Ludwig mark and Germany was revised. Son- Burkhardt, (the composer of "Krug derburg (the German form of the Konig"). The instructions are in a name) was ceded to Germany shortly little booklet which can be separated before 1850; so during the period from the music — a very convenient when this type of dancing flourished plan. The dance is pretty well like the in Europe — when in fact it was a Lesse version except that the music society dance and the prefix "folk" goes ABBCC — sixteen measures could not be applied to it — it was longer because the circles of four go German. round for three measures and back Better still, I think, would be to re- for eight, and there are two grand- frain from giving it a nationality. rights-and-lefts, i. e. each dancer goes There are quite a few dances which twice round the square, bowing to his can be claimed by two or more partner in the middle. Also, the men nations because of frontier changes do not dance stars, but circles. (the Tatra Mountains, Silesia, Banat, In Sonderborg and also in the vari- Alsace, also spring to mind). ous German towns the dance seems to I don't suppose that there is any be traditional; i. e. it is danced there way of finding out exactly what the because it "always" has been. The original version of the dance is. My Sonderborg group referred to it as guess is that the Danish version is "the quadrille" or "our quadrille," and nearest. This is partly because as the apparently no evening of dancing is dance travelled, the various differ- complete without it. The Germans ences could easily have crept in; in called it the "Sonderburger Quadrille" Sonderborg itself they are less likely or "Sonderburger Achter" (or some- to have done so. Also the versions in times the Sonderburger Doppel-quad- lower Saxony, which amount to a rille or Doppelachter, to stress that it number of short "verses" separated by is a double quadrille). a long "chorus" are very typical of But in Denmark outside Sonder- quadrilles as danced in North Ger- borg, and also in Sweden, the dance many and Scandinavia. The Danish was not what I call traditional. In version, with its contra-like progres- each place that I came across it, it sion, is of a type rather rare on the had been learned from the Danish book. TEUTONIC — Continued on Page 11

XV-91 AMERICAN SQUARES 7 ROUND ROUND By Mary and Bill Lynn, Brentwood, Mo.

"CHESTNUTS roasting on an open great "hit" tunes, comparable to "Lon- fire" — turkey, mistletoe, and brightly donderry Air" and "On the Bridge of lighted evergreens, gaily wrapped Avignon." It was extremely popular packages, all proclaim happiness. At upon its introduction about 1580. Soon this season our hobby reaches its high after the lyrics of the original ballad point in friendliness and hospitality. about an unfaithful lady named Each dance and dance party is just "Greensleeves," came various new a little warmer with robust song fests lyrics — a political campaign song and and festive snacks — for after all it's a New Year's Carol. In almost 400 Christmas. years, it has never ceased to be loved and sung to one set of words or an- Between Christmas and New Years, other. In the late 1800's, a clergyman the Yuletime Institute of Squares and wrote the beautiful words: Rounds will be held. This fifth annual session will hold forth at the very "What Child is this, that, laid to pleasant Western Hills Lodge near rest Waggoner, Oklahoma, and continues On Mary's lap, is sleeping?" with the originating staff. Round It took many years for the churches to Dance presentations will again be un- discover this lovely Christmas Carol der the direction of Roger and Jean and include it in their hymnals. Knapp. The first session was held at a Dude Ranch at Grapevine, Texas. While "Greensleeves" was sung Equal time is given to Rounds and over these many years, it was unques- Squares with variety stressed ranging tionably also danced during these four from simple to difficult routines. centuries. Various notations appear in Special periods are arranged for new Folk Dance literature, but none were dancers and they are encouraged to adaptable directly to modern Round participate in the Round Dancing pro- Dancing. In 1955, Ed and Elsie Bos- gram. Assistance is given to new sing introduced in their "Handbook of Round Dance instructors on methods Favorite Dances," two routines — one of presentation and related problems. called "Greensleeves" to an unfamiliar Overall emphasis is placed on fun and melody and another routine called enjoyment of Rounds. "What Child Is This?" to the tune we now know as "Greensleeves." This is Several new Rounds appear this an amalgamation of these two rou- month. For those interested in easier tines, done in 6/8 time, and is credited routines, we have WALTZ TEMPTA- to the Bossings. Lloyd Shaw Record TION (A q u a), HAPPY WALTZ No. 80 imitates the "orchestration" (Shaw), LAST NIGHT (Blue Star), that would have been used during the and LULLABY IN RAGTIME (Dot). Elizabethan Period and the dance For the Round Dance level dancer, maintains typical 16th Century pro- check into JUDY (Sets In Order), cessional mixing. GOLD AND SILVER WALTZ As another dancing year draws to a (Coral), LA GOLONDRINA (Decca) close, we would personally like to and a new International Style Latin wish you a Very Merry Christmas and routine, CHERRY PINK (Decca). a Happy New Year. See you 'round.

At each Yuletide Season we think (Notes on "Greensleeves" thru the courtesy of the fine old tune, "Greensleeves." of Mrs. Dorothy Shaw, Colorado Springs, This was probably one of the world's Colorado).

8 AMERICAN SQUARES XV-92 A BRIEF HISTORY OF "HAW By Rickey Holden and Lloyd Litman

Editor's Note: This is a chapter from the In the days of "traditional" square authors' forthcoming b o o k, INSTANT dancing generally before World War HASH, which is scheduled for release this month. II — the repertoire of figures was rather limited. Most good callers AMERICAN square dance "hash" knew fifteen to twenty visiting couple is a mixture of figures which come one figures, one or two "split ring" and after another so quickly that often "lines of three" formation figures there is no real figure pattern but (usually including RIGHT HAND UP, merely one movement on top of an- LEFT HAND UNDER) and perhaps other. Other names for the same thing the TEXAS STAR. Lines of four were are scrambled eggs, chop suey, pot rare, "goal post" figures more so, the pourri, medley, mixture, etc. possibilities of "grand right and left" While square dancing itself is defi- were pretty simple, and "allemande nitely of British origin, the "caller" or thar" was unknown. "shouter-out" is strictly an American Then callers began to be a little development. (Damon 1951). It is the more clever, and instead of having a caller who developed the ad-libbed couple visit every other couple with directional call; and it is the caller the same figure, couple 1 would visit who developed hash. couple 2 with TAKE A PEEK, then The mania for hash is not new, SWING AT THE WALL with the Generally it seems to follow the de- next and DIP FOR THE OYSTER velopment of "hot" or active square with the last. We well remember that dance areas. For instance, the El Paso, this sort of visiting couple hash was Texas area was one of the few great thought just awfully clever at a Sacra- areas of pre-World War II square mento, California Festival in 1947. dancing. And hash was a regular part About 1938 Lloyd Shaw introduced of El Paso square dancing in the late us to "allemande thar" and about 1947 30's, and even many years before. Raymond Smith started calling "alle- Among the more important types mande oh." Then Jack Hoheisal lump- of hash are: ed these as "away you go" and awa-a- 1. Visiting couple and pick up two ay we went with the first real hashing hash. breaks. From Oklahoma folklore, via Dallas, came RED HOT, then Fen- 2. Lines of three hash. ton Jones came out with TEXAS :3. Symmetrical, gearshift or clutch TORNADO in 1949 and THROW IN hash. THE CLUTCH in 1950 and star-thar a. Grand right and left, or hash- hash became popular. These two are ing breaks. symmetrical hash involving no change b. Star-thar hash. in order of people, merely a shift of 4. "Box" movement or goal post one gear (the ladies) within another hash. (the men), which is why we think of a. Two couples active. this as gearshift or clutch hash. b. All four couples active. c. Double pass thru formation. In 1945 Charley Thomas introduced 5. Lines of four hash. the FOUR POSTER BED; from this, a. Route formation or wheel or independently, Herb Creggerson around. started calling SPLIT THE RING b. Other lines of four. AND AROUND JUST ONE. Thus

XV-93 AMERICAN SQUARES 9 was started goal post hash where two day there are more really good geo- inactive couples stand still like goal metric patterns possible than ever be- posts while the others manipulate fore. thru and around them. A particularly strong source of good With the newly popular figures ideas has been the Northern Califor- came new work definitions and basic nia Square Dancers Association Work- movements. Old quadrille movements shop which started in 1952. Boasting which originally had to be memorized, such geniuses of figure arrangement phrase by phrase to the music, could as Madeline Allen, Bill Castner, and now be reconstructed quickly by the Jim York, and first source of such caller and ad-libbed easily to the (now) common word terms as "dixie dancers. These "basics" have develop- chain," "double pass thru," "those who ed rapidly, especially in the '50's. can," etc., this Workshop and its Notes were for a number of years the As s u c c e e d i n g generations of "young squirts" overcame their awe source of smart material for most of of tradition which said a dance must the alert callers and for the leading be called always the same way, they square dance magazines as well. often put everything together and There are now in different areas a called all they knew before they quit. When they knew the same few figures, number of such Workshops, rapidly each hash became like all the others. publishing notes on figure arrange- Modern callers are likely to fall into ments which spread all over the the same trap. But the good ones do country two or three months after better. And the difference is that to- publication.

MacGREGOR RECORDS FOUR BRAND NEW HOEDOWN INSTRUMENTALS

No. 849-A — "Cumberland Gap" No. 849-B — "Cotton Eyed Joe"

No. 850-A — "Green River Rag" No. 850-B — "Bill Cheatum"

Available on both 78 and 45 RPM

Music by ... JOE MAPHIS King of the Strings MacGREGOR RECORDS 729 S. Western Ave. Los Angeles 5, Calif.

10 AMERICAN SQUARES XV-94 Since 1950 figures and formations have spread, generally from the West Coast, in waves of popularity in about the following order: hashing breaks, star filar, goal post figures, diagonal GRENN goal post or head gents with corner "Deep Groove" Records figures and "Arky" types, double pass film, lines of four, wheel around or Route formations; and now we seem "RUDOLPH THE RED NOSED to he in a state of shifting from one REINDEER" to another of these formations, mix- "MACK IS BACK" ing many parts together. Thus we (Mack the Knife) combine and almost a new style of coned by the sensational Earl Johnston figure develops, the hot hash. of New England

Hash came from the callers. It is Green 12013 loved by most dancers. And it is here to stay! A lot of it is junk, perhaps, as you would find in any common pot. Instrumental 12014 But those connoiseurs of us who eat often, know that good hash-house eat- "GINGERBRED" ing can be as comfortable as the best by Ginger and Lou Brown of Medway, Mass. in the world. "HOLIDAY WALTZ" (Our particular thanks go to Made- by Mors° Thomas of Detroit, Mich. line Allen, Bill Castner, Jimmy Clossin and Roy McCutchan, who were kind Grenn 14005 enough to examine and add their thoughts to this article).

•©1959 by Rickey Holden and Lloyd Litman. LONGHORN

TEUTONIC—Continued from page 7 RECORDS Box 271 continent. And, of course, it is much KILGORE, TEXAS easier for a dance to be changed into a common and familiar form than out of one. Our Two Latest To end on what seems to me to be a somewhat comic note: at some time 127—Travel On an English scout must have been present at Pinewoods, Massachusetts, when the dahce was presented by a 128—Enjoy Yourself visiting Danish group, and he must have failed to notice that the dancers Flip Records — Called by: were Danes, or have failed to pass the Red Warrick information on when he got home, ecause the dance has been published Music by: Melody Cowhands by the English Folk Dance and Song Society as an American dance. They Still 78 rpm, Still $1.25 have even invented an American name for it — "Double Sicilian Circle"!

XV-95 AMERICAN SQUARES I I FROM HERE NEWS AND THERE GUIDE TO DANCE PERIODICALS DOUBLE SQUARES AND Each issue of American Squares is FUN GIMMICKS indexed in a permanent library refer- I use a Siamese (double) square at ence book titled "Guide to Dance my club dance once a month and the Periodicals." Serious square dance members enjoy it. Two dances that I teachers and callers can use and use are Right Hand Up, Left Lady locate dance routines from this publi- Under, and a Rip and Snort with six- cation. teen people. Any library, if the volumes are not For fun I pass out several brooms in stock, will borrow the book from to extra men or women and call a another library on request. It is also familiar dance like Hurry, Hurry, possible to have a librarian look up or Lonesome Pine. Those having the the page and even have a reproduced brooms can steal partners in a square copy made of the dance routines from but only when there is a promenade. pages of American Squares. I think these fun dances once in a Callers can obtain much valuable while at a club dance help to keep information from local libraries. Many clubs together. If more callers have reference books and other research ideas I hope they can be presented tools are available, especially in uni- from time to time. versity libraries. Harold Phannenstill CLUB OBSERVES 39th BIRTHDAY Kenosha, Wisconsin Editor's Note: Send us your gimmicks More than 100 Rhode Island and and ideas for possible publication. Eastern Massachusetts square dancers celebrated the 39th anniversary party of the Young Old Timers Club at the YOURS FOR THE ASKING Swansea Grange during November. For square dance diplomas and re- Its members maintain that this is the prints of the article "Square Dance as oldest square dancing club in New England. This club was organized by Christian Recreation," write to Frank fourteen families in 1920. Dances Kaltman, 1159 Broad Street, Newark, have been held regularly ever since. N. J. These are free on request.

CALLERS "You Won't Flop with Flip" LATEST RELEASE 14102-A — SALTY DOG BREAKDOWN — Flip/HASHING THE SALTY DOG — with calls by Horace Hall. A brilliant recording by "The Vansiats" — Masser Clubs will leo* the called side. 14-101-A — BATTLE OF NEW ORLEANS — Hoedown. witn-a — BLACK MOUNTAIN RHYTHM — Hoedown. This record has been a sellout vrlwrever it has been ',admit. RECORD STORES — CONTACT YOUR NEAREST DISTRIBUTOR Produced by EDWARDS RECORD SERVICE P. 0. Box 194 Pork Ridge, Ill. 12 AMERICAN SQUARES XV-96 CUE BAG TAKE YOUR PICK OF THESE SQUARES AND ROUNDS

LULLABY IN RAGTIME 7-8 MANEUVER, TOUCH, STEP, By Bud and Dot Kuhlman CLOSE; STEP, —, MANEUVER, San Diego, California TOUCH; Step fwd LOD R, touch L to R as Record: Dot No. 45-15950. W maneuvers in front of ptr into Position: Partners facing, M's back to CLOSED pos, step on L, close R COH. to L; step on L, hold 1 ct., step on Footwork: Opposite, directions for the R turning 1/4 R-face to face wall, touch L to R; man. 9-10 SIDE, BEHIND, SIDE, POINT; Introduction: SIDE, BEHIND, SIDE, POINT; Meas In LOD complete a Grapevine step- 1-2 WAIT; WAIT; ping to the side L, behind L with 3-4 TURN AWAY, 2; APART, R, to side L, point R twd RLOD; CLOSE, FORWARD, -; Repeat Grapevine starting R twd M turning L as W turns R, make a RLOD to end in OPEN pos facing complete turn in 2 steps L, R to LOD; face ptr in 4 cts; Step back L, close 11-12 STEP, P 0 I N T, ROLL A- R to L, step fwd on L, hold 1 et as- CROSS, 2; STEP, POINT, ROLL suming BUTTERFLY pos, M's back BACK, 2; to COH; Step fwd LOD swinging joined hands fwd, point R across in front Dance: of L, release hand hold changing 1-2 SIDE ,CLOSE, CROSS, -; places in two steps R, L turning R- SIDE, CLOSE, CROSS, -; face behind W (W turns L-face in Starting on R move to the side front of ptr) to end facing LOD RLOD, close L to R, step thru be- with M on outside of circle inside tween ptr to LOD by crossing R hands joined; Repeat starting R to over L, hold 1 ct; Step to side LOD end in OPEN pos facing LOD; on L, close R to L, cross L thru to 13-15 STEP, T 0 U C H, MANEU- RLOD and hold; VER, TOUCH; FWD TWO-STEP; 3-4 PIVOT, CLOSE, FORWARD, -; FWD TWO-STEP; SIDE, CLOSE, SIDE, TOUCH; Step fwd LOD on L, touch R to L, Step to side in RLOD on R to as- Step fwd LOD on R, as W maneu- sume OPEN pos, close L to R, step vers in front of ptr into CLOSED fwd LOD on R, hold 1 ct and as- pos, touch L to R; Complete a two- sume BUTTERFLY pos; Step to step fwd LOD; Repeat two-step side LOD on L, close R to L, Step LOD starting on R and maneuver- to side LOD on L, touch R to L; ing on Last step to face wall; 5-6 ROLL REVERSE, 2, 3, TOUCH; 16 APART, CLOSE, FORWARD, -; ROLL FWD, 2, 3, TOUCH; Repeat Measure 4 of Introduction. Roll down RLOD R, L, R, touch L to R and clap hands; Reverse the Ending: roll moving LOD stepping L, R, L, Repeat Measures 1-3 of dance; M touch R to L to end in SEMI- walks fwd two steps as W twirls R- CLOSED pos facing LOD; face; step apart acknowledge.

XV-97 AMERICAN SQUARES 13 JINGLE BELLS SEASONAL DANCES Record: MacGregor No. 007-2 — with Editor's Note: Dances written to seasonal call by lonesy" Jones; MacGregor music can add interest and variety to an No. 619 — instrumental. evening of square dance fun. The calls for three such square dances are included in Figure: this issue of AMERICAN SQUARES. Let us know about any seasonal dance material First couple join the sides that you have used. Forward up you go Back to place again RUDOLPH, THE RED NOSED Head couple do-sa-do REINDEER Forward up again, back to place you By Willard Orlich, Ohio go The odd couple swing in the center Record: Grenn No. 12014 — instru- of the ring and six hands 'round mental; Grenn No. 12013 — with them go calls by Earl Johnston. Six hand 'round in a six hand ring Opener, Break, and Closer: Around and around you go And when you get back home again All around that corner, box the flea at This is what you do home Do-ci 'round your corners Men start right in center, once around See-saw your partners all you roam Next couple must be ready when they Pick up that reindeer, with arm hear the caller call. around and then Inside out, outside in, reverse that star (Repeat figure three times to com- again plete dance). All four men, U-turn back — twice around you run SANTA CLAUS IS COMIN' Pass 'er once then meet again, box the TO TOWN gnat, keep 'er son By Fenton "Jonesy" Jones Promenade this Rudolph — the nose is getting red Record: Mac Gregor No. 7775 — with- And everyone will tell you he seems out call; MacGregor No. 7785 - to be well fed. with call by "Jonesy" Jones. Figure: Break: Allemande left the corner, wagon- Now the heads to the right — circle wheel your own up four Men star left, gals hook on, roll it The head gents break two lines of right along four Hub backs out go full around, balance Right and left through out and then You'll turn 'em twice around Right, left, right, the second girl, Eight to the center — a right hand star wagon-wheel again Walk right along but not too far Spin that gal and roll that wheel, he's Back by the left — let's roll it right feeling young and gay along Hub backs out and hold your hat, bal- Back right out — circle up eight ance out and box the gnat Circle hand in hand Box it back with Rudolph, promenade Two and four trail on through and then Your corners all left allemande His nose will light the way so you'll Take your own — promenade eight find your way again. You've got yourselves a Christmas (Sequence: Opener, Figure twice, date Break, Figure twice, Closer). 'Cause Santa Claus is comin' to town.

14 AMERICAN SQUARES XV-98 Figure: RUN THE GAUNTLET The gents star left across the square By Dave Palmer, Ypsilanti, Mich. Turn the opposite lady Heads go forward and back with you Gonna leave 'er there Side 2 couples cross trail thru Star right back, a right hand 'round Go round just 1, then box the gnat your own And behind that couple stand Go forward 8 and back that way See-saw 'round your corner girl Couple No. 1 do a half sashay Once and a half to a brand new pearl Split 2 couples across the floor Swing this little lady—don't you roam And U turn back behind those 4 The gents star left — a left hand star Forward 8 and back that way The gals go 'round the ring Now the lonesome couple half sashay Run the gauntlet, split 3 couples Pass 'em once — we'll meet again across the track Promenade your pretty little thing When you get to the end U turn back Promenade eight, two by two And forward 8 and back again She will be real nice to you Forward again divide the ring 'Cause Santa Claus is comin' to town. Follow the leader round the land Meet with the right for a Dixie grand (Sequence: Break, Figure twice for Hand over hand till you meet your head couples, Break, Figure twice for girl Right to her, box the gnat the side couples). Pull her by, left allemande.

ONE QUARTER MORE GRAND SASHAY By Max Forsyth Allemande left with your left hand 1 and 3 half square thru Partner right, right and left grand Right and left thru with the outside 2, Half way 'round in the usual way turn on around Meet your partner, grand sashay Do-sa right around your partner Now dive thru, square thru, 5 hands Right hand to your partner there (pull That's once around and a quarter her by) more See-saw left around the next Out to the sides with a left square Left hand to that lady there thru Do-sa right around the square Three quarters around then back to Right hand to that lady there the middle See-saw left around the next And square thru, full around and a Left hand to that lady fair quarter more Meet your own and promenade. While the sides California twirl Now left square thru with the out- CHANGE GIRLS BREAK side 2 Three quarters round then back to 1st and 3rd forward up and back with the middle you Square thru five hands you do Pass on thru, but U turn back Full around and a quarter more Box the gnat, face the sides Box the flea, change girls While the sides California twirl Box the gnat, change girls Left square thru with the outside two Box the flea, change girls Full around and looky there Box the gnat, change girls Allemande left go round the square. Allemande left.

XV-99 AMERICAN SQUARES 15 ROCK-A-WAY-WALTZ touch (R, L) and bk to LOD; step- By Murle Marquis ping back on L, make 2 right face waltzes, ending facing LOD, semi- Record: Sunny Hills No. 3154 Position: Semi-closed closed pos. Footwork: Opposite starting M's L. 25-32 REPEAT MEASURES 17-24. Directions for M. Ending: Introduction: Repeat measures 1-4, ending with Meas bow and curtsey. 1-4 WAIT 2 MEASURES; BAL- ANCE APART; BALANCE TO- GETHER BOW VALLEY BEND Dance: By Ed Gilmore 1-4 WALTZ FWD, 2, 3; MANEU- Sides go forward and back with you VER, 2, 3; PIVOT, 2, 3; APART, Forward again go square thru 2, 3; 3/4 round you take your maid Starting M's L, waltz fwd LOD And to the left you promenade with step, step, close (LRL); M Half way round the ring you 2 maneuvers in front of W with 3 Then down the middle right and left steps; in closed pos pivot with 3 thru steps (in place); back apart 2 steps Turn that girl hear me sing (R, L) and make 1/4 turn on R to face RLOD, open pos Chain those girls to the right of the ring 5-8 STEP FWD, ROCK, CLOSE; Head gents forward and back like STEP, ROCK, CLOSE; WALTZ that BACK 2, 3; TURN AWAY, 2, 3; Turn to the corner box the gnat Step fwd on L, Rock back on R, Square your set just like that close with L; step fwd on R, rock New couple 1 go cross the floor back on L, close with R; waltz back Split that couple and line up 4 with step, step, step (LRL); make Forward 4 and back in time R face turn (W left face turn) apart to face LOD, resuming semi-closed Forward again and bend the line pos; Pass thru to a left allemande. 9-16 REPEAT MEASURES 1-8 17-20 FORWARD, TOUCH; BACK, BACK, FACE; CROSS, TOUCH; EIGHT CHAIN THRU BACK, TOGETHER, CLOSE; Step fwd on L, touch with R; 2 2 couples in center of square facing steps back (R, L) and 1/4 turn on 2 couples on outside; outside couples R to face partner, man's bk to COH; give R to opposite, L to next in cen- step through with L toward RLOD, ter and on to next on outside again. and touch R; crossing to back with R, step L, close, M's bk still to Couples who were on inside give R COH; to opposite, L to partner, courtesy turn her to face in to meet couple 21-24 GRAPEVINE; MANEUVER, T 0 U C H; TWO RIGHT-FACE coming toward them. Each couple WALTZES; continues this until he reaches same Step to L, back with R, step L; M position he was in at the beginning. maneuvers in front of W with step- They are then ready for next call.

16 AMERICAN SQUARES XV-100

JOIN LES GOTCHER IN 1960

Maybe You Would How about a 3-day Like to Go to Weekend — July Hawaii 2-3-4

There will be seven There will be one big weeks of big week of Instituting at the Instituting at Big Crescent Hotel in Win Inn way up Eureka Springs, Arkansas in 1960 in Canada in 1960

There will be There will also be Instituting in Instituting in Florida in 1960 California in 1960

2 EARLY SUMMER WEEKS AT THE CRESCENT HOTEL IN EUREKA SPRINGS, ARKANSAS

First week will be May 29 to June 4 — Then we head for the National in Des Moines, Iowa, for the 9th, 10th, and 11th of June. Right after the National we do another big week at the Crescent Hotel in Eureka Springs, Arkansas. That week will be from June 12th to the 18th.

July 2-3-4 — Sat., Sun., and Mon. THREE SIG DAYS AT THE COMMANDE PERRY HOTEL IN TOLEDO, OHIO Room for 200 couples — First come, first served — Better check on this one — It's going to be a big one — Stay at the hotel, eat at the hotel, dance in the beautiful ballroom at the hotel.

YEARLY TRIP TO HAWAII — AUG. 8th to 15th This will be our 4th trip to Hawaii — Limited to 30 couples — Your flight both ways — 8 days at the wonderful Hawaiian Village Hotel - Plus Institute — Side trips, etc. All for the low price of $289.50 — Tax included.

5 BIG WEEKS AT THE CRESCENT HOTEL IN EUREKA SPRINGS, ARK. Beginning on Aug. 28th and going thru to Oct. 1st. For further information — or for colorful brochure — FREE — Write to

LES GOTCHER 137 So. Orange, Glendale 4, California MacGregor Records, 78 or 45 rpm Price $1.25

No. 846. Darktown Strutters Ball/Watermelon Time

Square Dance with Calls by "Jonesy"

The Old Master calls a couple of very danceable singing calls. The dances are suited to any level club dancers after a walk-through. This should be very popular.

No. 845. Instrumental of No. 846

A typical high-calibre MacGregor instrumental, altho a trifle fast.

No. 848. Everywhere You Go/Heartbreaker

Square Dance with Calls by Bob Van Antwerp

Medium-level club dances, very nicely called. A pair of singing calls which will be well liked by the club dancers.

No. 847. Instrumental of No. 848

A first class instrumental. They don't come better.

Old Timer Records, 78 or 45 rpm Price $1.45

No. 8143. Take Me Back to Colorado/Instrumental

Square Dance with Calls by Cal Golden

Cal Golden in his usual style is back on Old Timer label. The instrumental background is infinitely better than this same recording on Hoedown label.

No. 8145. Hashin' Up the Devil/Mississippi Sawyer

Square Dance Instrumental

A re-issue of Hoedown 500. The recordings have been re-mastered and the quality improved materially. This is a good record, both sides are excellent.

18 AMERICAN SQUARES XV-102 Western Jubilee, 78 or 45 rpm Price $1.45

No. 558. Heart of Gold/Instrumental

Square Dance with Calls by Mike Michele

A collection of glossary calls which the club dancers may or may not like depending on their tolerance.

Sunny Hills Records, 45 rpm only Price $1.45

No. 156. Chinatown/Instrumental

Square Dance with Calls by Joel Pepper

A snappy, jazz type calling of an old favorite tune. Excellent use of a marimba in the orchestra.

Sets in Order Records, 45 rpm only Price $1.45

No. 1111. One Time Too Many/Day Dream

Square Dance with Calls by Lee Helsel

Terrific patter calling. A modern club dance, strictly high-level.

No. 1112. It's All Over Now/Back Woods Square Dance with Calls by Lee Helsel

Another pair of modern calls. Well delivered.

Smart - army - 113listirActiireb Squaw Dresses beautifully designed in Cotton Georgette and in Zuni By the Yard ... Cotton Georgette the finest and Junior Sizes quality in more than; 20 beauti- ful colors. Send 25c for commrrE Zuni Cloth . . . no-iron semi-sheer, folder with illustrations. durable. dress and yardage samples. Braids . . . ornamental and with Gold, Silver or Copper, keyed to FREE on request: Yardage Georgette, and Zuni colors. samples only of Georgette. Zuni and Braids.

6- ratient--, new. A r 1405 Jewell Ave. Topeka, Kan. XV-103 AMERICAN SQUARES 19 THE MODERN CONCEPT OF A SQUARE DANCE CALLER By Bait Haigh, Kew Gardens, N. Y.

Square dancing is for the masses. true professional, the situation is not good. A professional knows how and Gone are the days when a square why he does things. He realizes that dance caller can call dances, put on he should meet the common denomi- social dance records, or have his band nator of the interests of the masses play folk dance music or social dance rather than cater to the interests of music between squares. Even a very people insecure enough to need to feel cursory analysis of the successful cal- superior to the masses by a highly de- lers in and around large cities shows veloped ability to do complicated that the job of the modern square square dance figures. dance caller is much more involved. After World War H, people enjoyed This article lists a large number of the calls of simple, melodic, Grange situations that a professional caller Hall dances, which were usually a might encounter. Then certain skills regular weekly affair throughout the in social recreation are listed. When entire year, except during the summer. these skills are developed and applied, Now, the majority of the callers in and the caller can give the people more out of caller's associations in large fun, and help to meet their recreation Eastern cities are doing primarily One needs. Night Stands. (It would appear from the dances these callers repeatedly Here is a small sample of the call at association meetings, that they variety of square dance calling situ- were specialists in high level club ations or social recreation positions dancing). that might be encountered by the modern square dance caller. Because the population of the 1. PTA Family Night attended by United States is changing from a rural 300-400 people from five to sixty years folk to a city folk with densely popu- of age. lated suburban areas, and because 2. Knights of Columbus or Ameri- more and more organizations are hav- can Legion Dance where the crowd ing square dances, many situations "feels no pain." occur that are not found in regular 3. Teen-age Dance where adult Grange Hall square dancing, and cer- leadership has planned square danc- tainly not found among skilled "square ing and those attending want rock 'n roll. dance people." A caller must be pre- 4. "High level Western dance" at- pared for these situations. These peo- tended by many people who have ple tend to forget the varieties of fun never square danced before. available in the area of social recre- 5. Golden Age Club. ation. 6. Outdoor dance at a State or City Park with a 1,000 or more paid If a caller is just a craftsman who admissions. knows the calls and can do a proficient 7. Night Club where people didn't job as a square dance caller in the "old come to square dance and the caller time" sense of the term, but is not a has to pry them off their seats.

20 AMERICAN SQUARES XV-104

ter. 8. 25th Wedding Anniversary at In some of the many listed situ- which the caller must be a master of ations, telling some jokes might be ceremonies as well as call dances. just the right thing. Although many 9. Foreign students — 500 strong - callers insist on being the performer, in the U. S. for only two or three it's possible to let others tell jokes if weeks. the joke can be approved first. At 10. Interracial dances. Golden Age Club dances, joke telling 11. One hundred people expected sessions can become a regular event. and 14 attend. 12. "Sweet Sixteen" Party. In some of the situations, get-ac- 13. Square Dance Festival plan- quainted games where names of ned for "square dancers only" attend- others were learned quickly and ed by 200 or so non-dancers. effortlessly were just right. Dr. Dick 14. An exhausted group after four Kraus of Teacher's College, Columbia square dances. University, and Jane Farwell, travel- 15. A half hour of square dancing ing recreation leader, are helpful in for 200 noisy kids who have just open- this area. Games for large groups or ed presents at a Masonic Christmas humorous games for a few to enter- party. tain the crowd are good.

To be successful in all the above Many dances can be used where situations, a caller must have a variety the dancers sing parts of the call, of skills at his command and a certain often during promenade parts of the amount of understanding of people, dance. Some groups are great at group both as individuals and as members singing. This can be followed up later of a group. The successful caller must in the evening, when a rest is in order. turn to social recreation skills. However, good group sings don't just A professional square dance caller happen. One must know how to select realizes that all normal people want and lead the songs so that people to have fun. They want to have fun don't need song sheets. A variety of to a large extent on their own terms songs, old and new, fast and slow, and in areas familiar to them. Some- active and passive type rounds, and times a caller will do better to teach the like should be included. Stunts the basic Cha-Cha en masse instead and skits, and audience participation of the latest dance from a square stories can also be used effectively. dance publication. It's difficult to learn to teach all social dance steps, There's much more to social recre- if one tries to learn all the latest calls ation. A caller must be more than a for highly experienced square dancers. recreation leader. He must be a sales- Most of the time it means doing the man, publicity man, musician, promo- Hokey-Pokey, the Bunny Hop, and ter, small businessman, public speak- musical chairs even though the caller er, toastmaster, employer (of musi- has allowed himself to get bored stiff cians), comedian, educator, and enter- with such "overworked" material. A tainer. It's amazing how few full-time caller should not need to show the public how much he knows about square dance callers there are. It's a square dancing. This knowledge full-time occupation. The modern call- should not keep him from understand- er has a complex job where he en- ing the average One Night Stand deavors to bring square dancing to• dancer. the masses.

XV-105 AMERICAN SQUARES 21 Dear Arvid: OUT OF THE MAILBAG Help! Both my husband, Larry and I, have been teachin"em and can; Dear Arvid: 'em for some ten years now. We do Congratulations on your new posi- not think we "know everything" but tion as editor and publisher of Ameri- we do manage. We have now come across something which has us stop- can Squares. Best of luck in your new ed. Granted that you have two lines venture. of four, facing each other with the Dot Cherry first couple facing the fourth couple Tapoco, N. C. and the second facing the third — the call is "Face DOWN the line and do Dear Arvid: a double pass through." (A) Which Received the October issue of way is DOWN—away from the caller, American Squares under the guidance we think; and (B) from that position, of the new editor and publisher. how is a double pass through exe- cuted? Good luck with the magazine, May I extend my best wishes for a and keep it rolling. successful continuance. Keep up the Record Reviews and possibly add Maxine Clark some new departments to cover sub- Castleton-On- jects of interest to square dancers all Hudson, N. Y. over the country. Editor's Note: Reader comments and suggestions will be appreciated on Marty Winter Cresskill, N. J. this. Dear Arvid: MERRBACH has the latest I Congratulations on your new posi- BLUE STAR tion as editor of the American Squares 1539 — FOOLIN', Caller, Marshall Flippo, magazine. Flip instrumental. 1540 — WE MIGHT AS WELL FORGET IT, I am glad to see the magazine be- Caller, Andy Andrus, Flip instrumental. coming more than just stories about On 45 and 78 rpm speeds. people in the square dancing field and announcements of coming events. I BOGAN think the series in the past few months 1111 — MARIE, Caller. Nathan Hale, Flip in- on certain square dance calls or strumental. 1112 — POCKET FULL OF DREAMS, Caller, figures and their variations, and the Nathan Hale, Flip instrumental. articles such as the "History of Social On 45 and 78 rpm speeds. SWINGING SQUARE 2308 — WHEN PAYDAY ROLLS AROUND, SQUAW DRESSES Caller, Les DeWitt, Flip instrumental, 45 rpm aimed only. Moderately priced, yet with the BENZ Enchanting Elegance as captured 1204 — TENNESSEE DEW STEP; Caller, Ben in each creation by Baldwin, Jr., Flip instrumental, 78 rpm speed only. We carry all square and round dance labels. BILL BETTINA Writ. us If your dealer cannot supply you. 2110 N. W. Miami Court, Miami, Ma. MERRBACH Your copy of our "Portable Showroom"

RECORD SERVICE sent FREE upon request. 323 West Mb St. Houston, Texas

22 AMERICAN SQUARES XV-106 Dancing," make it a much more im- portant magazine for me. I am won- Have You Tried These Favorites? dering also if the Record Review sec- 45 and 78 RPM tion might contain some of the stand- ard records occasionally, as well as 8141 — The Battle of New Orleans the current ones since several of us Flip — W/C Bill Costner — Music by The Four Squares Plus One. new in the field need this help. 8142 — Hit Neighbor Harlan Copeland W/C Bill Costner — Four Squares Plus Assistant State Club One. Leader, Kansas 8143 — Take Me Back to Colorado State College Flip — W/C Cal Golden. Manhattan, Kan. 8144 — Make Someone Happy W/C Fred Bailey. 8145 — Hashin Up the Devil Dear Editor: Mississippi Sawyer — Hoedown — Music I recently was given a copy of your by Cal Golden and Arkansas Mtn. Boys. magazine, American Squares—August Coming Soon an L.P. by Bill Costner issue. The reason we were given this Watch for it at your dealers. particular copy was to read your com- ments on Johnny Davis' new GRENN Send 4c for complete listings ... records. OLD TIMER Johnny calls for us here in Barber- RECORD CO. ton every third Saturday, and at a 708 East Weldon workshop the next evening, where PHOENIX, ARIZONA calls for these records are tried out. Willard Orlich, who writes the dance material for these GRENN records conducts the workshop along with ANOTHER HIT Lloyd Litman, a well-known Ohio Set to a Catchy Tune caller from Cleveland, also a sub- You Will Like It scriber of your magazine. Johnny Davis is the most popular Introducing the smooth new figure Dixie caller who comes in regularly. His Twirl by Ray Watkins of Amarillo, Texas style is in accord with the pace of in an original dance by Mike Michele, dancing we do in the Akron-Cleve- Phoenix, Arizona. land-Barberton area. However, it was most refreshing to read other people's No. 559 — New Plaid and Calico comments. We were glad you liked the instrumental on GRENN. We think Al Russ is terrific. Flip Instrumental. 45 and 78 rpm. Jean Boden Barberton, Ohio Music by The Five Notes.

Square dancing did not just spring Send 4c for a complete listing to: up in the 20th Century. Understand- WESTERN JUBILEE ing its roots makes for healthier growth. RECORD CO. John M. Mead 708 East Weldon Waterbury, Conn. llI PHOENIX, ARIZONA

XV-107 AMERICAN SQUARES 23 CLASSIFIED ADS PAT PENDING'S RATES: $1.00 per line. First line may be THOUGHT FOR THE DAY bold face or bold face caps. Deadline: 10th of month preceeding publication. In spite of the diet they're feeding Book and Magazines Those intricate journeys called High SETS IN ORDER, the official magazine of square dancing, $3.70 per year. SETS IN Geometrical nightmares of patterns ORDER, 462 North Robertson Boulevard. Won't force our square dance to die. Los Angeles 48, California. The roots are too firm in our people BOW AND SWING, the magazine of Square Dancing in Florida. Published ten issues a Solid our rich heritage year . . . featuring complete directory of Tho' amateurs now try to murder clubs and open dances . . official publica- tion of callers and dancers groups . . . sub- By adding some punk foliage. scription price $2.00 per year. BOW AND SWING, Box 891, Kissimmee, Florida. When rookies have worn out their patrons THE FOLKLORIST, incorporating THE FOLK DANCER and THE FOLK MUSI- And wonder just where they have CIAN & SINGER. Published in Manchester, gone England. $1.50 per year quarterly. American subscription agent: Frank L. Kaltman, 1159 Our stalwarts who cherish tradition Broad St., Newark, N. J. Will call-dance and still carry on.

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24 AMERICAN SQUARES XV-108

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Ilf you are a Professional CaHer — please write for your CONFIDENTIAL professional Discount Price. special Prices include tax, F.O.B., Newark price $144.50 Ask for Ten Day Trial • Terms TAPE RECORDER DANCE RECORD CENTER 1159 Broad Street Newark 2, New Jersey Dec. 26-31: Wagoner, Okla. Yuletide April 8-10: Los Angeles, Calif. Cali- S/D & R/D Institute. Western Hills fornia State Square Dance Conven- Lodge. tion. Dec. 27-Jan. 1: Berea, Kentucky. Christmas Country Dance School. April 18-27: Philadelphia, Pa. Recrea- Berea College. tion World's Fair. Convention Hall. Dec. 30-Jan. 3: Keene, N. H. Ralph April 18-24: Los Angeles, Calif. Re- Page's 7th Annual Year-End Camp. creation World's Fair. Sports Arena. Jan. 1-3: Riverside, Calif. Weekend April 29-30: Las Vegas, Nev. Square Institute. Mission Inn. Dance Festival. Convention Center. Jan. 2: Bloomfield, N. J. New Year's Square Dance. Hill Top Barn. April 30-May 8: Fontana Dam, N. C. 14th Fontana Swap Shop. Jan. 15-17: Tucson, Ariz. Southern Arizona's 12th Annual Square May 13-15: Cleveland, Ohio. 2nd Dance Festival. Annual Buckeye State Square Jan. 23: Ardmore, Okla. So. District Dance Convention. Sheraton Cleve- March of Dimes Dance. Civic land Hotel. Auditorium. May 27-29: Fontana Dam, N. C. Fon- Jan. 30: Houston, Texas. Jamboree. tana Fun Festival. Jan. 31: Harrisburg, Pa. March of May 28-29: Oakland, Calif. Golden Dimes Dance. Ranchland. State Roundup. Mar. 11-12: Mobile, Ala. Azalea Trail Festival. June 9-11: Des Moines, Iowa. 9th Mar. 12: Durham, N. C. Tar Heel Annual National Square Dance Square-Up. Armory. Convention. Veteran's Audit. Mar. 24-26: Washington, D. C. 1st June 11-13: Eureka Springs, Ark. Annual Spring Festival. Sheraton Heart of America Festival. Crescent Park Hotel. Hotel.

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. . . . when your pilot is that ol' salt of the Santa Barbara Channel, CAPT'N BRUCE JOHNSON, and the crew is the staunch men of the Sundowners Band. Bruce not only calls both numbers but he also rigged the dance for "Fine and Dandy." RANDY STEPHENS, an expert seaman from the rockbound shores of Provo, Utah, signed on as First Mate by firing up the boilers on "Cruisin' Down The River." With such a competent set of officers and such a happy crew, you're bound to have a fun-packed cruise. Step up to your favorite record dealer and buy your ticket — the whole trip costs only a buck forty five! WINDSOR No. 4479 (with calls) — No. 4179 (instrumental)

ROUND DANCERS — for ultimate enjoyment of the beautiful "NEOPOLITAN WALTZ" now being revived, be sure to use Windsor's original R/D recording, available in both 45 rpm (#4626) and 78 rpm (#7626) with superb music by the Rhythmates and backed with another all-time favorite, "Kiss Waltz."

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3330 N. Rosemead Blvd., Temple City, Calif. AMERICAN SQUARES SECOND CLASS MAIL 2514 • 16th Street Moline, Illinois

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DEALERS! If you want service — try us Complete one-stop service on all square and round dance RECORDS — BOOKS — SUPPLIES Russell Top Dance Records — Goofey Badges All sales 100% guaranteed — Fast, efficient service Contact us now, for catalogs, prices, and the like

He 1-,-,445e-AMERICAN CO •

Wholesale Only "Distributors of Dance Records" P.O. Box 62 Moline, Illinois Phone Moline 2-0231

A Singing Call to a Favorite Tune

AC 156 CHINA TOWN

Called by Joel Pepper Flip Instrumental * * * Have You Tried Our Latest Rounds? AC 3154 WHILE WE'RE YOUNG and ROCK-A-WAY WALTZ * * SUNNY HILLS RECORDS 1600 Sunny Crest Fullerton, California